KATARINA NINA SIMONČIČ
Fasion and Textile Historian. Department of Textile and Clothing Design of the Faculty of Textile Technology, Zagreb
ODJEVNA PROIZVODNJA ZAGREBA U RAZDOBLJU SECESIJE
THE CLOTHING PRODUCTION IN ZAGREB IN THE SECESSION PERIOD
Journal 7/2011 (Museum of Applied Art), pages 41-52
UDC:
3391.2:687.1(497.5)"18/19" ; 7.05:646.4(497.5)"19/20"
ИД 188181516
Abstract (original language):
Rad istražuje i donosi pregled zagrebačke tekstilne proizvodnje razdoblja secesije. Naglasak rada je na modnim oblicima namijenjenim ženama čija je osnovna uloga bila, odjevnim izgledom, ukazati na financijsku moć supruga. Proizvodnja i prodaja odjevnog asortimana smješta se u dvije glavne zagrebačke ulice gdje se uz domaće modne oblike nalaze i inozemni artikli. Osim prvih tekstilnih tvornica, značajnu ulogu o oblikovanju zagrebačkog modnog stila imaju modni krojači školovani u inozemstvu. Svojim modnim izričajem koji prati europske modne tokove, oblikuju vlastiti stil, te ujedno aktivnim društvenim angažmanom doprinose boljem položaju obrtnika - krojača. Zagrebačka moda bila je pod jakim utjecajem triju modnih centara: Pariza, Beča i Londona, kako u stilskom izričaju, tako i u načinu prezentiranja mode na onodobnim društvenim okupljalištima. Najznačajniji doprinos u oblikovanju zagrebačke mode ipak ima Pariz, na što ukazuje modni tisak, ponuda pariškog asortimana, te odjevni oblici proizašli iz zagrebačkih modnih salona. Istraživanje se temelji na relevantnoj povijesnoj literaturi, istraživanju podataka u državnom povijesnom arhivu, onodobnom modnom tisku, te sačuvanim odjevnim predmetima. Podaci se analiziraju i uspoređuju u cilju povijesnog pregleda do sada neistraženog segmenta. Svrha rada je ukazati na početak otvaranja modnih poslovnica u dvije glavne zagrebačke ulice na čijim se povijesnim lokacijama proizvodnja i prodaja mode zadržala i tijekom XX stoljeća, te ujedno na mali zagrebački doprinos europskoj modnoj slici početka XX stoljeća kroz proizvodnju Industrije Salamona Bergera.
Key words: (original language)
Gjuro Matić, moda secesije, modni krojači, modni saloni, Salamon Berger, tekstilne tvornice, zagrebačka moda
Summary:
The fashion in Zagreb at the turn of the 19th century was under strong influence of Paris and Vienna. Zagreb, within the Austro-Hungarian empire, aspires to the culture and fashion of Vienna where the emphasis was on ready-made clothing production. Paris was oriented towards haute couture during the period of Secession, thus becoming the crucial point as regards trading routes and fashion impacts. It was in 1895 that Zagreb symbolically gave the title Parižka moda (Parisian Fashion) to its first fashion journal in Croatian.
This paper focuses on two Zagreb central streets which tailored, produced, presented and traded fashion. Textile production places, fashion salons, fashion tailors as well as textile and clothing assortments of home and foreign provenance are described. Due attention is paid to the fashion press of the period, which used to note fashion events, gatherings, presentation spaces and in the same time to inform about fashion trends. Significant source of information for the reconstruction of clothing production in Zagreb offered advertisements published in the press placed by fashion houses, stores, factories and tradesmen. Their offers included dress items, accessories, and specialised terms for various fabrics.
The emphasis in the paper is on comparative researches both of Zagreb fashion and of other centres so that a comprehensive insight into the fashion development in the area may be accomplished. Women's fashion is described to a large extent since the press paid greater attention to it. The clothing of a woman expressed her husband's financial standing and it also served as status indicator related to young unmarried women. Like all bigger capitals, Zagreb also had ladies representing fashion. They either belonged to nobility or were opera divas and actresses. The Zagreb fashion in the period of Secession was most deeply marked by the work of Gjuro Matič, fashion tailor trained in Paris as well as by contribution of the Industry of Salomon Berger, which by applying traditional elements on the fashion clothing shaped the autochthonous expression present in foreign markets also.
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